This 16mm film follows the life of the director’s grandfather, Teymu Teylong, a famous hunter in Ciyakang village in Hualien. Having lived through the Japanese and KMT rules, Teymu Teylong farms and hunts in the mountains and gives little thought to the political establishments. When not working, he chants to young fallen souls lying in the village graveyard and offers sacrifices to ancestral spirits before going on a hunt. His daily routines are contrasted with footage of indigenous people of the past, brutalised by colonizers.
Beautifully portraying the wild landscape and lives of indigenous people in its tranquil form, the film illustrates the intimate connection between Teymu Teylong and the titular mountain. Similar to the Indigenous Movement starting in the 80s, this film highlights the indigenous people’s fight for survival as they call for labour equality, land justice and name rectification.
While indigenous culture is often used by the authority in cultural diplomacy, the director dismisses this official presentation. Instead he chooses to present his people’s daily activities, the rituals and beliefs that are the core of the indigenous culture.
本片記錄導演外祖父 Teymu Teylong 於山林裡耕種、狩獵、祭祀的規律生活。這位太魯閣族老者經歷過日治時代，是花蓮西林部落中有名的獵人。在部落墓園裡，他細數年輕族人的墓碑與生平，帶著對生命無常的喟嘆，繼而吟唱聲線哀怨的詩文。狩獵前，他總遵循傳統儀式，殺豬祭知祖靈，祈求狩獵順利。看似日常的生活紀錄，穿插了過去台灣原住民遭受不同統治者「教化」的影像；仔細聆聽，琴弦演奏的原住民古調配樂，更在視覺之外，反覆提醒長久以來原住民在政策底下的處境。 為精準呈現獨特靜謐的山林質感以及生命最純粹的狀態，本片採16釐米拍攝，以旁觀者視角緩緩道出老者與山林為伍的淺白故事，並對應當代原住民族運動議題，突顯在爭取「正名」的歷史下原住民族群的生存現實。導演企圖透過影像的對比，營造「格格不入」的疏離感，傳達出原住民族文化應體現於日常生活，而非當代政權用以宣傳政績的工具。（資料出處：臺灣國家電影中心工具箱）